ms*** 


HIS  IS  A  COMPLETE  COLLECTION 
OF  THE  PUBLISHED 
MEZZOTINT  ENGRAVINGS 
OF  S.  ARLENT  -  EDWARDS 
ENGRAVED  AND  PRINTED 
IN  COLOR  BY  HIM 
AT  ONE  PRINTING 
WITHOUT  RETOUCHING 


Copyright  1910 
by  E)  L.  Knoedler 
New  York 


S.  ARLENT-EDWARDS 
BY 

MISS  MARIE  A.  HYDE 


/ 


No. 

No.  Title.  From.  Pub. 

1.  Lady  Hallett.  T.  Gainsborough.  135. 

2.  Duchess  of  Devonshire  T.  Gainsborough.  125. 

3.  Lady  Sheffield  T.  Gainsborough.  135. 

4.  Emma,  (Lady  Hamil¬ 

ton).  George  Romney.  175. 

5.  Bosom  Friends.  (Miss 

Bowles)  Sir  J.  Reynolds.  175. 

6.  Lady  Hamilton  as  Na¬ 

ture  George  Romney.  225. 

7.  Countess  Spencer.  Sir  J.  Reynolds.  175. 

8.  The  Frankland  Sisters  John  Hoppner.  175. 

9.  Lady  Anne  Bingham.  Sir  J.  Reynolds.  175. 


Gallery. 

Rothschild. 

J.  P.  Morgan. 
Rothschild. 

Rothschild. 

Wallace. 

H.  C.  Frick. 
Spencer. 
Tennant. 
Spencer. 


No. 

No.  Title.  From.  Pub. 

10.  Patience.  (Mrs.  Drum¬ 

mond  Smith.)  George  Romney.  175. 

11.  Mrs.  Sarah  Siddons.  T.  Gainsborough.  125. 

12.  Mrs.  Benwell.  George  Romney.  175. 

13.  The  Blue  Boy.  (Jona¬ 

than  Buttall.)  T.  Gainsborough.  175. 

14.  Nature.  (Calmady 

Children).  Sir  T.  Lawrence.  175. 

15.  The  Pink  Boy.  T.  Gainsborough.  175. 

16.  Mrs.  Davenport.  George  Romney.  175. 

17.  Lady  Elizabeth  Comp-  Sir  J.  Reynolds.  175. 

ton. 

18.  Countess  Grosvenor.  Sir  T.  Lawrence.  225. 


Gallery. 

Northampton. 

National. 


Westminster 

Huntington 
Rothschild. 
Bromley -Dav¬ 
enport. 

Chesham. 

Sutherland. 


No. 

No. 

Title. 

From. 

Pub. 

Gallery. 

19. 

Mrs.  John  Douglas. 

T.  Gainsborough. 

150. 

Rothschild. 

20. 

Duchess  of  Devonshire 

and  Child. 

Sir  J.  Reynolds. 

135. 

Devonshire. 

21. 

Mrs.  Robinson. 

T.  Gainsborough. 

135. 

Wallace. 

90 

A-*-  • 

Visit  to  The  Boarding 

School. 

George  Morland. 

175. 

Wallace. 

23. 

Mrs.  Norton. 

T.  Gainsborough. 

175. 

Rothschild. 

24. 

Countess  of  Mexbor- 

ough. 

John  Hoppner. 

175. 

25. 

Mrs.  Mears. 

T.  Gainsborough. 

175. 

Rothschild. 

i 


No.  Title. 

From. 

No. 

Pub. 

Gallery 

26.  Adelaide  as  Diana. 

J.  M.  Nattier. 

175. 

ATersailles. 

27.  Henrietta  as  Flora. 

J.  M.  Nattier. 

175. 

Versailles. 

28.  Marie  Louise. 

J.  M.  Nattier. 

125. 

Versailles. 

29.  Sympathy. 

J.  B.  Greuze. 

225. 

Wallace. 

30.  Innocencia. 

J.  B.  Greuze. 

125. 

Wall  ace. 

31.  La  Dauphin. 

Mine.  Yigee  LeBrun. 

175. 

Louvre. 

32.  The  Music  Lesson. 

Nicholas  Lancret. 

175. 

Louvre. 

33.  The  Garden  Party. 

Nicholas  Lancret. 

175. 

Louvre. 

No.  Title. 

34.  Madonna. 

35.  La  Belle  Fei 

36.  Madonna. 

37.  Mona  Lisa. 


40.  Madonna. 

41.  Beatrice  D’Este. 

42.  Madonna. 


From. 

No. 

Pub. 

Gallery. 

Botticelli. 

175. 

National. 

Leonardo  di  Vinci. 

225. 

Louvre. 

F.  F.  Lippi. 

175. 

Uffizi. 

Leonardo  di  Vinci. 

175. 

Louvre. 

Ghirlandaio. 

175. 

S.  Maria  No- 

Ghirlandaio. 

225. 

velli. 

S.  Maria  No- 

Luini. 

225. 

velli. 

Ambrosiana. 

Leonardo  di  Vinci. 

175. 

Ambrosiana. 

Perugino. 

225. 

Milan. 

Fffizi, Florence 

No.  Title. 

43.  Julia  McDonald. 

44.  Mrs.  Sheridan. 

45.  Princess  Augusta  So 

pliia. 

46.  Playmates. 

47.  Lady  Mulgrave. 

48.  Age  of  Innocence. 

49.  Miss  Farren.  (Coun 

tess  of  Derby). 

50.  Master  Lambton. 

51.  Mrs.  Robinson. 

52.  Mrs.  Wells. 

53.  Miranda.  (Mrs.  Midi 

ael  Angelo  Taylor) 


From. 

No. 

Pub. 

Sir  T.  Lawrence. 

225. 

T.  Gainsborough. 

125. 

T.  Gainsborough. 

175. 

Sir  J.  Reynolds. 

125. 

T.  Gainsborough. 

225. 

Sir  J.  Reynolds. 

135. 

Sir  T.  Lawrence. 

125. 

Sir  T.  Lawrence. 

175. 

George  Romney. 

175. 

George  Romney. 

135. 

John  Iloppner. 

175. 

Gallery. 

Rothschild 

Windsor. 

Campbell. 

National. 

J.  P.  Morgan. 

Wallace. 

J.  IT.  Smith. 

Londonderry 


52 


No. 

Title. 

From. 

No. 

Pub. 

Gallery. 

54. 

Duchess  of  Rutland. 

Sir  J.  Reynolds. 

175. 

Burned  1816 

55. 

Duke  and  Duchess  of 
Cumberland. 

T.  Gainsborough. 

225. 

in  Bel  voir 
Castle. 

Buckin  g  h  a  m 

56. 

Lady  Sophia  Musters. 

Sir  J.  Reynolds. 

175. 

Palace. 

Leconfield. 

57. 

Izaak  Walton. 

E.  Tuskipp. 

175. 

58. 

Gypsy’s  Warning. 

Rev.  W.  A.  Peters. 

125. 

Gild  Hall. 

59. 

The  Fortune  Teller. 

Sir  J.  Reynolds. 

125. 

Rothschild. 

60. 

Good  Night. 

Henry  Mosler. 

225. 

60 


No.  Title. 

61.  Anne  of  Cleves. 

62.  Elvira. 


From. 

Hans  Holbein. 

P.  della  Francesca. 


No. 

Pub.  Gallery. 

225.  Louvre. 

225.  Poldi  Pezzoli, 
Milan. 

225.  Cassel. 

135.  Hermitage. 
225.  Amsterdam. 
225.  Musee  Conde 
Chantilly. 

225.  Hermitage. 


63.  Saskia  Van  Ulenburgh  Rembrandt. 

64.  Rembrandt’s  Mother.  Rembrandt. 

65.  The  Lute  Player.  Franz  Hals. 

66.  Simonetta  Vespucci.  Pollajuolo. 

67.  William,  Prince  of 

Orange.  A.  Van  Dyck. 


1 


FTER  some  years  of  experimenting  and 
investigating,  I  believe  that  I  have  succeeded 
in  reviving  the  almost  obsolete  art  of  colour 
printing  from  a  mezzotint  plate — done  in  one 
printing  and  without  any  retouching,  as  it 
was  practiced  a  hundred  years  ago  by  the 
English  engravers — examples  of  whose  work  are  now  in 
such  great  demand.  I  have  gone  far  enough  in  my  experi¬ 
ments  to  be  able  to  confidentially  announce  that  all  the 
beauties  of  the  old  printing  will  be  retained  in  mine  and  I 
can  secure  a  depth  and  richness  of  color  that  can  be  achieved 
by  no  other  system  of  printing. 

After  Jacob  Le  Blond,  in  1720,  invented  printing  in 
colours  from  a  mezzotint  plate,  the  art  was  practiced  and 
gradually  improved  until  it  arrived  at  its  highest  point  of 
perfection  late  in  the  18th  century.  Since  then,  and  for 
the  past  century  it  has,  for  some  reason,  fallen  into  desue¬ 
tude  ;  and  though  it  has  been  revived  with  varying  success, 
the  experimental  labor,  time,  etc.,  necessary  to  make  a  good 
proof  has  made  the  process  so  expensive  that  it  has  not  met 
with  the  support  necessary  to  its  progress. 

Every  proof  in  colours  is  practically  an  oil  painting. 
When  the  plate  is  engraved  and  ready  to  be  printed,  the 
coloured  inks — which  are  specially  ground  and  mixed  with 
thick  oil  and  varnish — are  rubbed  on  the  plate  in  a  thick 
mass  and  then  wiped  off  the  surface,  the  line  indentation 
of  the  mezzotint  leaving  a  place  for  the  colours  to  lie.  Each 
colour  has  to  be  put  on  and  rubbed  separately.  After  the 
ink  is  put  on  and  the  plate  wiped  and  manipulated  in  a 


manner  which  blends  the  colours  together,  so  that  there  is 
no  ink  left  except  in  the  engraved  work,  the  proof-paper 
is  then  laid  on  the  plate  and  is  passed  through  a 
heavy  copperplate  hand-press,  the  paper  being  thus  pressed 
into  the  engraved  work  in  the  plate  and  taking  up  the  ink 
and  so  making  the  finished  proof.  The  same  process  has  to 
be  gone  over  for  each  proof  and  consequently  it  necessi¬ 
tates  a  great  amount  of  labor  and  experience,  but  the  end 
justifies  the  means,  for  these  engravings  possess  a  richness 
of  colour  which  can  be  achieved  by  no  other  process. 

Mezzotint  is  a  style  of  engraving  on  copper  or  steel 
differing  entirely  from  any  other.  The  surface  of  the  plate 
is  first  indented  all  over  by  the  action  of  an  instrument, 
like  a  chisel,  with  a  serrated  edge,  called  a  mezzotint 
grounder.  This  tool  being  rocked  to  and  fro  in  many  direc¬ 
tions  (technically  called  ways)  produces  a  “nap”  or 
“Burr,”  called  the  mezzotint  ground  and  which,  if  an 
impression  were  taken,  would  be  uniformly  black.  A  mezzo¬ 
tint  engraver’s  tools  are  few — a  scraper  and  burnisher. 
The  design  is  drawn  upon  this  ground  by  scraping  away 
the  “burr,”  scraping  more  and  more  of  the  ground  in  pro¬ 
portion  to  the  shades,  using  a  burnisher  for  the  highest 
lights.  The  mezzotinter’s  work  has  a  breadth  of  effect,  a 
depth  and  brilliancy  of  tone  to  be  attained  by  no  other  style 
of  engraving.  But  the  freedom  of  handling  which  this 
method  allows  makes  a  keen  knowledge  of  drawing  and 
the  values  of  black  and  white  indispensable. 

8.  ARDENT  EDWARDS. 


Goerck  Art  Press 
925  Sixth  Ave.  N.  Y. 


NOT  TOR  SALE. 


His  first  mezaotint. 

No.  68.  w Twilight " .  1885. 

His  first  engraving. 

No.  69.  "Comical  Logs".  1883* 

His  first  etching. 

(4)  "Westminster  Abbey".  1881. 

No.  70.  ’Poet  * s  Corner’. 

No.  71.  ’The  Cloisters’. 

No.  72.  ’Entrance  To  The  Chapel  of  Henry  VIII*. 
No.  73.  ’Islip  Chapel*. 

No.  85.  "Washington".  (in  color) 

Only  12  printed. 


PRIVATE  PLATES. 

No.  74.  "Penelope  Boothby”. 

after  Reynolds.  12  copies  printed. 

No.  75.  "Rosebuds”.  (Ethel  Barrymore). 

Original.  25  printed. 

No.  76.  "Panny  Kemble”. 

Printed  for  Henry  C.  Sturgis,  only  25  proofs. 

No.  77.  "Lawrence”. 

20  proofs  from  a  miniature  in  Historical  Society 

No.  78.  "Major  Andre".  6  printed. 

No.  79.  "Washington”. 

after  Sharpless.  36  printed. 

No.  80.  "George  Washington". 

after  Trumbull.  (In  City  Hall)  6  printed. 

No.  81.  "General  Gates”. 

after  Gilbert  Stuart.  18  proofs  printed. 

No.  82.  "Alexander  Hamilton”. 

10  proofs  from  the  Iconiphiles  Society. 

No.  83.  "S.  Ar lent -Edwards".  * 
by  Marie  A.  Hyde. 

No.  84.  "Lady  Spencer”,  (small) 

No.  86.  "Mr.  Edwards’s  Portrait", 
engraved  by  Himself. 


ay  lord  ==5 

PAAIPHUT  binder 

Syracuse,  N.  Y. 
Stockton,  Calif. 


INSTlXUt* 


